摘要
过去人们多以"清微淡远"来评价虞山琴派的风格。它最初出现于清乾隆年间琴人王坦的《琴旨》。但虞山琴派的创始者严天池、徐青山主倡的琴学风格却并未直接提及"清微淡远"。虞山派创立之始,一方面强调琴乐的道德作用,但另一方面更强调琴乐的音乐性,将琴乐的技法进行了细致的精研和规范。"强调音乐、规范技巧"可以说是虞山琴派的指导思想和风格特征。将"清微淡远"与虞山派琴风联系起来,是清代康乾间历史背景下的必然,也是千百年来中国传统文人集体意识的反映。虞山琴派真正的思想主导,仍需今人进一步加以认识。
＂Qin - Wei - Dan - Yuan＂ as a motto of an aesthetical ideal of guqin music first appeared in Wang Tan ＂s Qinzhi （essence of guqin）, which was printed in the Qianlong period of the Qing dynasty （1735 -1796）. Since then, the motto has been generally regarded as the description of the style of yushan guqin School. However, Yan Tianchi and Xu Qingshan, the founders of yushan guqin School never described their styles using ＂Qin - Wei - Dan - Yuan＂ themselves, rather they focused on the moral musicality and performance techniques of guqin music. role of the guqin music in society and the importance of the The association of the ＂Qin - Wei - Dan - Yuan＂ style with the yushan guqin School reflects the collective ideas of Chinese literati in history.
出处
《星海音乐学院学报》
CSSCI
2012年第4期90-98,共9页
Journal of Xinghai Conservatory of Music
基金
江苏省教育科学十一五规划项目重点资助课题"江苏省乡土音乐教育资源的开发与建设"(B-a/2006/01/038)
关键词
虞山琴派
清微淡远
严天池
徐上瀛
溪山琴况
王坦
琴旨
Yushan guqin School
＂Qin - Wei -Dan - Yuan＂ （quiet environment, dedicate approach and rich Yan Tianchi
Xu Shangying
Xishanqinkuang （ Classic Xishan Works of Qin）
musicality
techniques
Wang Tan
Qinzhi （ essence of qin）
